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This month brings a trio of 16mm films that explore collage with a variety of techniques and glorious results. The main selection “My Home Movies” by Taylor Mead finds the Warhol superstar in low-budget documentarian mode, shooting his adventures from Mexico through New York and LA, all in single frame! Says Mead: “I shot my home movies with the cheapest, littlest hand-held camera I could buy. And in the low 1960s film was so expensive that I just used the single frame button…but it’s lovely anyway – I kept pushing once I crossed border into the US and NYC and Malibu.”
Kim Ku-lim’s “Meaning of 1/24 Second” is a ten-minute frenetically shot and edited film that captures the architectural energies of Seoul as witnessed through an urban protagonist and is South Korea’s first experimental film, showing here in a print that was salvaged from a VHS copy after the film was lost for over a decade. “The Meaning of 1/24 Second is less concerned with the essence of media, as its title would seem to suggest, and more with critiquing the rapid changes wrought on the city [Seoul] in 1969 -archiving something that would soon enough be taken apart.” -Kim Mi-jung
Artist Wallace Berman is often called the father of collage and assemblage art. “Aleph” is his only film, was assembled on Regular 8mm and took 10 years to make; its a meditation on life, death, mysticism, politics and pop culture. Berman uses the Hebrew alphabet to frame a hypnotic collage that was made using a Verifax machine, Eastman Kodak’s precursor to the photocopier.
“Aleph took a decade to make and is the only true envisionment of the 60s I know.” -Stan Brakhage
Taylor Mead “My Home Movies” (1964, 16mm, 38 minutes, colour, sound on 1/4″ open reel, USA/Mexico)
Kim Ku-lim “Meaning of 1/24 Second” (1969, 16mm, 10 mins, colour/B&W, silent, Korea)
Wallace Berman “Aleph” (1966, 16mm, 10 minutes, B&W, silent, USA)
Thanks to the Gladstone Hotel, NY Filmmakers Cooperative and Hangjun Lee.